Jordi Hidalgo Tané

VILAMACOLUM HOUSE. Vilamacolum, Alt Empordà. 2016-2020

Vilamacolum is a small town in the Alt Empordà that does not reach 300 inhabitants and whose main activity is agriculture and livestock. A town where tourism has not arrived and where tractors and agricultural vehicles of all kinds circulate through its streets defined by walls and sheds. A place with a strong character that advised us to propose an architecture capable of dialoguing with the landscape and with the nearby 12th-century Romanesque church of Santa María de Vilamacolum, which watches us carefully. A single roof supported by four pillars stores under it the volumes that make up the house, all in concrete. Its unique rough and industrial monumentality, with its marked vertical architecture in contrast to the horizontal landscape, places us halfway between a Palladian villa and an agricultural shed. The constructive and structural rigor of the house that uses concrete as a finishing material for floors, walls and ceilings, together with glass and plasterboard cladding with insulation, constitute the elements that, used in its logical constructive form, allow us to build a house of 180m2 built for just over €150,000. An architecture that uses construction and structure in its most essential expression to integrate naturally into the surrounding agricultural environment.

LANDABURU BORDA

Bera, Navarra.

2012-2019

“Contexto. Paisaje de caseríos y verdes laderas navarras en lo alto de una falda de montaña. Historia. Encargo privado, el cliente requirió al arquitecto porque lo conocía, conocía su obra y era justo lo que le interesaba. Estaba convencido de que nadie más podría hacer lo que él buscaba. Se trata de una antigua borda que se vacía para incorporar el programa de habitaciones y una impresionante sala de estar en la montaña: dentro de ella, una cueva luminosa y llena de vegetación. Potente y meditada estructura de hormigón al servicio de la luz, la transparencia y la claridad del espacio. La infraestructura aparece como lenguaje compositivo con taludes y desniveles, aberturas y lucernarios rasgados. El porche se presenta como un espacio de transición hacia el paisaje inmenso.” Valoración del jurado del FAD

CHANDELIER, Olot 2018

An elegant chandelier * has been installed in the courtyard of the Hospice of Olot. The thousands of crystals that the make up are the drops of water frozen by the effect of strobe light. * chandelier = PVC tube + water hoses + wire + steel cable + water + light spot strobe

FAD Intervencions efímeres 2019, Selected

CHURCH IN COPENHAGUEN, Copenhaghen 2016.

SOCIAL ACTIVITY CENTER, Barcelona, 2016

CUQUES DE LLUM “FIREFLIES”, Olot, 2017.

Thousands of fireflies appeared in Olot on the night of Saturday November 12 2016.

Many people came to see the unusual phenomenon and to admire the beauty of these strange and mysterious living things that produce light to attract couples.

On Sunday, they all left.

Awards:

Premi Paisatge 2017. Premis d´Arquitectura Comarques de Girona

Publications: divisare

“DOMUS ANIMAE”, Pavia, Milan, 2015.

“This project is located in the monumental cemetery of Pavia and takes the form of a "domus", with a central courtyard, like many of the existing buildings of Pavia. A house for souls, a "domus animae".

The new temple occupies the entire plot with a square volume of concrete which is located in the garden, reserving the existing galleries and the surrounding vegetation.

Its external neutrality must be interpreted by respect for the building and the coherence of its use of space where the interior is the most important and as for the exterior, only the blank wall is shown. The access is produced by the terraced portico which as an inevitable transition space in buildings of this nature, it allows us to gradually leave the outside world and enter the sacred space.

It proposes a place that allows the mortal remains rest and in a space that should propitiate the radical solitude of the individuals before the mystery and the transcendence of the death. A space built with light, diffuse and smooth, which creates an atmosphere that distances us from the outside world and from memory, we associate the sacred. It creates an essential space, which is defined by a perimeter, a moat of light and a central pond illuminated by a large lantern hung from the ceiling. All supported by four circular pillars. The ground floor emphasizes the essentiality of space. The perimeter moat from which light springs creates the insurmountable distance between the world of the living and the world of the dead while the large lantern suspended above the pond with water lilies allows us have a  relationship with the outside, with life and hope. The walls suspended in the emptiness symbolize the state obtained by the incineration of the bodies, in transit to eternity, already free. The project proposes a reinterpretation of the columbarium of the Roman time in an attempt to move away from the current image of the columbarium as small-scale niches posing a more archaic and essential image closer to the sacred”

publications: afasia, divisare

GUGGENHEIM MUSEUM, Helsinki, Finlandia, 2014.

“The building site of the new Guggenheim museum of Helsinki is situated on the outskirts of the city’s south harbour.  We interpret it as an urban sea promenade with intensive citizen activity that would turn into a new pole of dynamic attraction of the city. The promenade acts as the limit of the city and acquires necessary attributes of the landscape as an isolated and compact volume, that is 60m x 60m width x 32m height. The orientation of the building towards the sea in relation to the urban context shows its autonomous state confirming the fact that it doesn’t belong to the city but to the landscape. In this sense the new Guggenheim Museum in Helsinki is presented as an isolated piece of the Finnish landscape converted into architecture. A building that draws its form from the abstraction of the elements that define the landscape, the forests, the lakes and the high blue sky. The perimeter is constructed of towers evoking the grid of trees of Finnish forests. In its interior there is an empty space as if it was a lake bathed in daylight. This empty space is connected to the exterior by two large openings, one at the entrance of the building and another one facing the sea. The form and the materialization of the building constructed of a white, smooth and polished concrete reflects the changing light and converts the construction into a dense, profound and mysterious building that approaches the landscape as if it was part of it.”    

ROSES HOUSE, Roses, Empordà, 2013.

“The plot is perched on the hillside of Cap de Creus massif. 80m. Above sea level with splendid views of the bay of Roses and the Pyrenees in the background that are snowy at winter time. The site is excavated in the rock, exposing the vertical granite wall that we feel is a key element of the house. A plot, that with its given height only requires a horizontal platform to create an area from which the sea can be observed under a shelter for sun protection. A concrete tree emerges from the ground and ploughs through the whole house until it opens up above the square as a fig tree that protects and shelters.”

ECO-OFFICES LIME 2013, Lima, Perú, 2013

“In this project, we sought the reason of remote ancestral forms in the search for the essence of the imperishable architecture using the wall and patio.  The project was to reconstruct the "workspace" of tall buildings to suit site conditions. It flees from the cold crystal clear picture of office buildings and space arises introverted, quiet, enclosed by concrete walls and connected with the city. 

LANDABURU FARM HOUSE, Bera, Navarra, 2012 .

“A few kilometers from Bera, the Caserío Landaburu, a small traditional building, anchored in the breathtaking mountainside and a landscape of the Navarre mountains. To work in this exceptional location is an exercise of respect for the fragile building and especially to the mystical power of Mt. Navarro, rich in history and legends. It is a rural house with a few rooms to stay in the existing building and a spacious living area with kitchen built in the mountain becoming part of it, as if the house had been there before the  village was built. Sheltered inside the forest as a "cave", observes the magnificent landscape that is in front of us.”

POA, Pole Océanographique d´Arcachon, Arcachon, France, 2013.

“Three light weighted volumes made of glass is protected by a layer of water that levitates on sand dunes and pines in Bassin D’Archachon. Between these volumes, the public space flows freely, from the park to “belvedere”, where you can admire the magnificent landscape of Bassin. The three volumes gather around the great empty hall, configured as a compact building that has genetically modified the superposition of the typical plants of office buildings and research for accurately adapting to the urban context. The displacement of the volumes allow it to respond to what the environment requires in each point avoiding the formal totalitarian principles that dominat visually. The building is located in the north part of the plot close to Marins street and allows releasing the space in the south to maintain permeability between the village and the Petit Port through the creation of a new public space in front is the sea and the citizens park of Arcachon.”

T HOUSE, Girona, 2012.

“The general volume of the house responds to the compromised situation of a steep plot in the middle of a beautiful golf course and lush vegetation of pine and oak trees.  The architecture of the house can be seen as the simplest expression and at the same time complex and rich when one discovers its inner world. It should be understood as a passage that moves the inhabitants from the access on the street to a place of privacy and intimacy. The succession of unexpected views and spaces is not discovered until one moves through them. The spatial concept is based on a very basic zoning program which led to an organization that combines enclosed spaces like the kitchen and service area on the ground floor as well as the upper bedroom area with the open spaces of living and dining on the ground floor. The two contradictory elements that both need the other in order to exist, are responsible for the geometrical shape. The house is designed as a thick concrete roof that is balanced in the air with the aid of a rectangular support which in turn belongs to a concrete base that rises from the ground. This roof functions as a huge porch located between the trees providing comfort and relaxation for the inhabitants.”

NUK II, Lubjiana, Slovenia, 2012.

CRAM Foundation, Plentzia, Bilbao, 2011.

“The new facilities of the CRAM Foundation are located in the former golf course of Prat del Llobregat, in the Equipments Area of the Littoral’s Corridor, with an action area of approximately 20.000m2. A center without references, pioneer in Europe, which incorporates the knowledge of CRAM to obtain a few facilities that allow development in an effective way three basic lines of action of the foundation: firstly there is the clinic and rescue of protected marine species that run aground on the coast for its later reintroduction; secondly, the tasks of conservation, investigation and training, and finally, the social awarness campaign on the state of the marine environment and its problematics. The project looks for a balance between the clinical program of investigation and the public program, with the minimum possible means, to ensure that the conditions of the activity become the key factors in defining the architectural features and volume of the whole. This decision pursues architecture that looks for the equidistant point between its functional condition and its representative condition as a public building.”

SCULPTURE MUSEUM, Leganés, Madrid, 2011.

“The architectural proposition waives the construction of a building on the surface to prevent that its presence substantially modifys the environment; in exchange it enhances the image of a cultural park, where art is exposed on a natural background, as part of the historical memory of the place. To emphasize this idea it has been chosen to bury the new building in its entirety under the ground, and to  characterized it by an alternation of full and empty carved/cut in the earth covered with grass. Lower the sculpture garden space to accommodate the large exposures, means having the surface of the cover to keep the public space as a large living room which allows relax and contemplation of the sculptures from the highest point in the park. The new buried volume establishes a direct relationship with the topography, the tree mass, street and the city.”

BIODIVERSARIUM, Banyuls, 2010.